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Life-Giving Spring
Panagia the Life-Giving Spring or Life-Giving Font (in Greek: Ζωοδόχος Πηγή) is both the feast day of a historic church just west of Constantinople in Valoukli, and an icon of the Theotokos (Virgin Mary) which is venerated by the Orthodox Church, commemorated on Bright Friday of each year.
The image in the icon includes the Virgin Mary with her child standing within a stone chalice that presumably represents the living water which is Christ. This "living water" is contained in the cross which all who follow him must bear as he did. In the early Church, the baptismal font was actually in the form of a cross just like the cross of this icon and the Christians would enter in from the base of the cross and come out at the top, and then re-enter from the left of the cross and come out on the right of the cross; then the priest, who would be standing in the middle of the cross/baptismal font, would commune them.
During the reign of Emperor Marcian (d. 457), a blind man had lost his way and the famous warrior, Leo Marcellus, passing by, helped him. As he went to search for some water to refresh the exhausted man, he heard a voice directing him to the spring.
In Constantinople, sometime in the 5th century, there was a garden that was dedicated to the Virgin Mother of God. In the garden was a spring and it was well-known for its miracles. In its history, the fountain had been destroyed and then rebuilt on many occasions, at the request of the Virgin Mother.
In the 15th century, the city of Constantinople fell into the hands of the Muslims. The Church of the Life-giving Spring was destroyed, and its building materials were used to construct a mosque for Sultan Bayazet. The church site was covered with earth and crushed stone, so that the very foundations of the church disappeared from sight. The beautiful surrounding areas were turned into a Muslim cemetery. A Turkish sentinel, placed at the ruins of the church, forbade Christians not only to gather at the site, but even to approach there.
Little by little, the strictness of this ban eased, and Christians were permitted to build a small church there. However, in 1821, it was destroyed as well, and the spring itself was filled in. Once again Christians cleaned up the ruins, reopened the spring, and once again drew water from it. Even upon these shards of the former magnificent holy structure, the Theotokos, as before, granted hearings through her grace. Later, among the broken pieces in one of the windows was found, already half-rotted away through time and dampness, a panel on which were recorded ten miracles which occurred at the Life-giving Spring during the period 1824-1829.
During the reign of Sultan Mahmoud, the Orthodox received a measure of freedom to conduct religious services. They used it to erect, for the third time, a church above the Life-giving Spring. In 1835, with great pomp, the Ecumenical Patriarch Constantine, celebrating with 20 bishops and an enormous flood of the faithful, consecrated the church which stands to this day. Nearby was built a hospital and alms-house. Even the Muslims spoke with great respect of the Life-giving Spring, and of the Theotokos, who through it pours out her grace-filled power. "Great among women Holy Mary" is how they refer to the Most Holy Virgin. The water from the Life-giving Spring they call the "water of Holy Mary."
- The Life-Giving Spring Acadimias, Athens
- Theotokos of the Life-Giving Spring Russian Orthodox Mission - Bryan, Texas
- Original monastery in Constantinople.
- Monastery of the Theotokos the Life-Giving Spring - Dunlap, California
In Orthodox hymnography, the Theotokos is frequently compared with a Holy Fountain.
- O most favored by God,
- You confer on me the healing of your grace from your inexhaustible Spring.
- Therefore, since you gave birth incomprehensibly to the Word,
- I implore you to refresh me with the dew of your grace that I might cry to you:
- Hail, O Water of salvation.
See also
External links
- The Miracle of The Veil in Constantinople 911 AD.
- Question 5. "What feast is celebrated Bright Friday?", St Nicholas Russian Orthodox Church, Dallas Texas.
Categories > Arts
Categories > Arts
Categories > Church Life > Theotokonymia
Categories > Church Life > Theotokonymia > Icons of the Theotokos
Categories > Images > Icons
Categories > Liturgics > About Icons
Categories > Liturgics > About Icons
Categories > Liturgics > Feasts
Categories > Liturgics > Feasts
Categories > Liturgics > Feasts


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Some good news on the weight-loss front. Even if you've been a total flop before — regaining all the weight you lost and 10 pounds on top of that — you can be a dieting success.
"There's hope for all those people who have tried to lose weight and have not achieved long-term success," says J. Graham Thomas, who has studied the habits of "successful losers" through the National Weight Control Registry at Brown University Medical School (nwcr.ws).
Thomas studied the habits of some 6,000 adults who had lost 30 pounds or more and maintained the loss for at least one year. Nine out of ten of these success stories had a previous history of losing weight and putting it back on.
So, how did they take it off for good?
Writing in the American College of Sports Medicine's Health & Fitness Journal, Thomas boiled it down to "Seven Habits of Successful Weight Loss Maintainers."
1. Physical activity: Engaging in 200 minutes a week (average 29 minutes a day) of moderate-intensity exercise such as brisk walking.
2. Limit TV watching to under 10 hours a week (vs. 28 hours a week for the average American).
3. A low-calorie, low-fat diet with less than 30 percent of the calories from fat; use low-fat versions of dairy, dressings and sauces and artificial sweeteners such as diet soda instead of regular.
4. Consistency — relatively little food variety and the same pattern daily; no splurging.
5. Eat breakfast — but not high-fat bacon and eggs — to help curb hunger and prevent overeating later.
6. Avoid emotional eating and gorging; fast food meals limited to less than one weekly (compared with 2 to 3 for average Americans).
7. Monitor yourself. Weigh yourself weekly, track calories and/or fat grams; the Internet and smart phone apps make this much easier.
Got a bite-size tip on diet, exercise and well-being? Email firstname.lastname@example.com.
Some good news on the weight-loss front. Even if you've been a total flop before — regaining all the weight you lost and 10 pounds on top of that — you can be a dieting success.

subset: commoncrawl


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With the exception of a few daffodils, the gardens outside our home sit vacant and we're waiting patiently for warmer weather. Hopefully, sometime around Mother's Day, we'll start planting. In the meantime, the little green thumbs in our home have kept busy with some pretend gardening with Dora.
Dora's Garden Gazebo is just one of many Dora the Explorer products that Mega Bloks offers. The gazebo set includes the following 19 pieces to encourage pretend gardening play:
• Build & Dress Dora with 2 interchangeable skirts
• Baby Blue Bird
• Gazebo building (4 blocks)
• Watering Can
• Flower Pot
• Sunflower
• Patio Table and Umbrella
• Pine Tree
• Fence
• Extra blocks (3)
The set is recommended for ages 3+ and includes several small parts. Building the gazebo as pictured on the box really isn't too difficult. Like all building sets, kids can use their imagination to set up the blocks however they prefer, anyway. The small playset works perfectly fine as a stand-alone set and offers several options for imaginative play. My kids prefer to set the gazebo up separately and move the accessories around while they play.
The Build and Dress Dora figure has some special features worth mentioning. It is a positionable doll -- her arms and legs move and her head twists. Even her wrists rotate, allowing her to grasp onto the watering can and dump pretend water onto her flower! The figure pulls apart to make it easy to change out the skirt, from blue to pink or vice versa. Also, if Dora is in the mood to wear pants, one can just leave the skirt off altogether. While my kids can pull the figure apart themselves, they have some difficulty putting it back together.
My daughter especially enjoys playing with the Baby Blue Bird. In fact, at the time I took the photos, the bluebird was off on an exciting adventure somewhere in our home. My son is a little sad that the set only includes one character figure from the TV show. He wanted to know what happened to Boots! I do wish that play sets like this would include more than one main character. Siblings would be able to play with it together and the figures could hold conversations. Also, though it includes a table, this garden set lacks a chair. My kids remedied the situation by using a chair from a Fisher Price toy. An extra flower would be a nice addition as well. The buildable playset works with other Mega Bloks sets (as well as Lego DUPLO bricks) for open-ended play. My kids plan to build a house for Dora so they can attach this set as an outdoor living space.
Dora's Garden Gazebo retails for $14.99 and is available at Kmart, Toys R Us, Wal-Mart, select Target stores and Amazon.com.
And, for Mega Bloks fans, MEGA Brands has launched a community website called the Mega Bloks Family Club. It's a free site and members receive a coupon for $5 off any $30+ Mega Bloks purchase in addition to other exclusive content. To sign up, visit http://familyclub.megabloks.com.
MEGA Brands has kindly offered to giveaway a Mega Bloks Dora's Garden Gazebo playset to one (1) Brimful Curiosities reader.
To enter this contest, leave a comment relevant to this post. What other Mega Bloks product would be popular in your home?
• For contact purposes, if you are a non-blogger or your email is not accessible in your blog profile, please leave a valid email address within the comment section.Three ways to gain extra entries (Maximum total entries is 4; please leave a separate comment for each entry):
• Contest is open to US
• Contest ends on Monday, May 16th, 2011 at 11:59 PM CST.
• Winner will be chosen at random and sent an email notification.
1st extra entry: Blog about this contest then post your link in the comment section.
2nd extra entry: Follow me on twitter (iambrimful) and tweet about the contest.
3rd extra entry: Follow Me! or subscribe by email or RSS reader
Thanks to Team Mom and MEGA Brands Inc. for this review opportunity and for providing the Dora Mega Bloks toy for my family to review. View my full disclosure statement for more information about my reviews.)


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Welcome to the wiki!Edit
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A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
1741 - 1806
Historical Period:
The 18th Century
Jean Louis De Lolme (1741-1806) was born in Geneva and became an advocate there. Criticism of the political authorities led him to seek refuge in England, where he lived as an author and journalist. Toward the end of his life he returned to Geneva and was elected to the Council of Two Hundred.


text: The three words "Made in Italy" have long been synonymous with the finest ingredients and unparalleled creativity and craftsmanship. From clothing and accessories to food and wine, an Italian label is cachet and appeals to the most discriminating taste. The same is true for jewelry. Since 1995, Alisa® has been committed to producing at their factory in Tuscany, Italy exclusive fine jewelry in 18k gold, sterling silver and diamonds or colored gemstones that are both eye-catching and unique to the brand. Both our Traversa® and Cortona™ Collections are individually denoted by their distinctive braided basketweave signatures that are highly recognizable. And we have never compromised on the quality of our designs, materials or workmanship. What makes the Italian made Alisa brand extremely popular with so many fine jewelry retailers and their clientele is at the core of its success--our luxurious collections are not only affordable but also practical and versatile for both business and casual wear. We take pride in both our products and the selected group of authorized retailers featuring the Alisa brand. Our company is dedicated to providing the highest level of craftsmanship to the legions of women who enjoy wearing the creations of Alisa.


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Grain Carts and Gravity Wagons
Jones Machinery Inc is the leading supplier and dealer in the best selection of used farm equipment in the Midwest. Our inventory of Grain Carts and Gravity Wagons is constantly being updated, with brands such as E-Z Trail, Parker, and more. When you need used ag equipment in Kansas, Nebraska, Texas, Colorado, the Midwest or the entire United States, make Jones Machinery your first choice. We provide sales, repair, support and delivery for all of the equipment we sell. If we don't have what it is you need, we will find it for you. Call or visit Jones Machinery Inc today in Smith Center, Kansas.
Showing all 3 results


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Sometimes it's those times that you don't want to leave the sheets in your warm comfy bed, when your legs are heavy and your eyes just want to stay shut forever and you mind hasn't even turned on yet. When you feel so lethargic that your body won't even function and you seriously doubt your ability to put one foot in front of the other. That was me this morning. I was so warm in bed and so tired and I didn't think I would be able to function if I went out for a run.
I saw a commercial the other day that depicted the sheets attacking the girl trying to get up and work out. That is pretty much what happens to me. I just loathe getting up in the morning. As soon as she shuts the front door and takes off though, she's freed from the sheets and has a great run. (Well it doesn't show the run, but I like to imagine)
This morning those sheet monsters had me wrapped up and the darkness that was seeping through my windows just convinced me to stay tangled up in bed for a little bit longer. Finally my 3rd alarm went off (yes I have to set three) and I told myself enough was enough and got up and immediately went in the bathroom and splashed cold water on my face. It sucks, but it wakes me up every time. I'm one of those people that once I'm awake, I'm totally awake, but getting to the sink to splash my face can be a struggle. Then the contacts go in and after a few blinks I feel much better. Then I know I can do it.
This morning I got dressed and scowled at the fact that I could still see the moon and the sky was black and there wasn't even a hint of sun yet. I opened the front door and sighed. I knew it would be worth it, but it was making myself believe that it was worth it to get me going. As soon as I got out the door and got going, I felt revived and refreshed, honestly it's just pushing yourself out the door and it makes all the difference. It wasn't too hot yet and the crisp morningness welcomed me with open arms. It was nice to be out and running and able to breath and not be distracted.
People I pass are much more friendly in the mornings, I got so many hellos and smiles. It's hard to get out of bed, but once you get moving and once the sun comes up, it's invigorating what the air and your surroundings can do to you. Sometimes running is almost intoxicating to me. It gives me such joy, that no one else can even imagine. Even though I felt like I wasn't moving fast, I actually had the average pace of 8:46, which isn't that bad. My legs were tired and heavy, but watching the sky turn from black, to pink, to blue is always something that when I do get up early enough to see, just reminds me what it's like to be alive and how lucky I am to be able to put one foot in front of the other, day after day.
I know I'm not a morning runner. I'm much faster at night and I HATE getting out of bed, but sometimes, every once in a while, I can peel myself from the sheets and those morning runs always remind me that they are delicious! Sometimes it's just the simplest things that can motivate you, like the feeling you get once you're fully awake and out running. Then it's the rest of the day, you've got your run done and you are super awake and ready to take on the world.
Now if those pesky sheets would just let me go!
PS those pictures weren't from this morning, but another morning run, I look at them all the time becuase they are simply beautiful.
PPS. Remember to enter the Living Rooms Direct $50 gift card giveaway by leaving a comment on THIS POST!!!


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Pandora plunges on Apple radio reportsSeptember 7, 2012: 12:12 PM ET
If you have an Elton John channel on Pandora (P), an appropriate song to be streamed today would be Sad Songs (Say So Much). "Guess there are times when we all need to share a little pain."
Shares of Pandora plunged more than 17% Friday following multiple reports that Apple (AAPL) was looking to launch its own streaming radio service. Fortune's Apple 2.0 blogger Philip Elmer-DeWitt has more on the radio rumors. (See "Apple could buy 60 Pandoras") But traders on StockTwits were debating whether the sell-off was justified or if Pandora really is doomed.
reformedbroker: I might buy some Pandora ($P) on this $AAPL competition sell-off. And I think $GOOG should buy the whole company if they're smart.
TodayTrader: This reaction in $P to possible competition with $AAPL might be overdone here.
It's true that the sell-off may be a bit extreme considering that Apple has not officially announced any plans to start an iTunes radio product as of yet. And Pandora could easily be taken over by Google (GOOG) or any other tech giant that might be interested. The company's market value is just $1.7 billion. Pocket change for Google and other cash-rich techs like Apple, Microsoft (MSFT) and heck, even Facebook (FB).
Speaking of Facebook, one thing that Pandora has going for it is that it is so far doing a better job of generating ad revenue from mobile than "The Social Network." According to a report from eMarketer Thursday, Pandora is expected to generate $226 million in mobile ad sales in the United States this year. That puts Pandora ahead of Apple, Facebook and Twitter. What's more, eMarketer is predicting that Pandora's U.S. mobile ad revenue will jump more than 50% next year to nearly $350 million.
Related: Twitter tops Facebook in mobile ad sales
Still, there are many reasons to be skeptical of Pandora. Friday's big sell-off follows a huge spike in the past week after the company reported it broke even in its most recent quarter. Analysts were expecting a loss.>
So with the stock up as much as it had been heading into Friday, it may be logical for the shares to give back most of those gains on renewed concerns about competition.
MarkSanchez: $AAPL can afford to experiment with audio advertising, $P can not, P's absurd and unfounded 5 day rally has placed it on a mountain top
Very true. By the way, you are not THE Mark Sanchez of the New York Jets are you? He seems like a nice guy. I interviewed him last year. And I know that Pimco CEO Mohamed El-Erian will be cheering for you. So if you are the playcaller for Gang Green, please hand off to Shonn Greene early and often Sunday. He's on my fantasy football team. (Although Mrs. Buzz, a die-hard Bills fan, probably won't be thrilled to hear me rooting for the Jets.)
ldrogen: Pandora $P has never and will never have a real profitable business, and it was never defensible either, Songza now Apple $AAPL
TraderLantern: As if the competition from Spotify wasn't enough, $P now has to deal with $AAPL.
That's a great point. Competition in this sector is brutal. And Pandora is not so much better than the rest that it can remain the leader indefinitely. In fact, I have apps for Pandora, Spotify and Songza on my iPhome. But I uses Spotify and Songza far more often than Pandora. I also have apps for individual terrestrial radio stations around the country that I happen to like. There is little that's unique about Pandora -- even if Apple never enters the market.
Finally, my Reader Comment of the Week. It involves another Pimco reference. I was lamenting the Giants' loss to the Cowboys over on Twitter Thursday morning. That game was on NBC ... and it prompted this amusing comment from a reader.
I'd pay to see Bill Gross in a sitcom. Maybe he could play a friend of Ed O'Neill's character on "Modern Family" -- aka the show that "The New Normal" appears to be a painful rip-off of.


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Update: A Senate aide writes to say that a letter signed by 12 Republican senators, including 5 who sit on the Senate commerce committee, has just been sent to Minority Leader Mitch McConnell (R-KY) recommending Ajit Pai for the vacant GOP FCC seat. While it's up to the president to formally appoint commissioners, traditionally it's left to the opposing party's congressional leadership—in this case McConnell—to select someone for the reserved seats.
Original post: There's been plenty of buzz about what the ascension of Julius Genachowski to chairmanship of the Federal Communications Commission will mean, but rather little talk of who will fill the vacant Republican seat on the five-member commission. Over at the Tech Liberation Front, Hance Haney fills that lacuna:
The most prominent candidates include Lee Carosi Dunn (Senator McCain's assistant for communications policy), Ajit Pai (Senator Brownback's assistant for judiciary matters) and two officials from the Bush administration (David Gross, ambassador for international communications and information policy; and Meredith Baker, former acting assistant secretary of commerce for telecommunications and information policy). All sound like good choices. The backing of McCain and Brownback will help Dunn and Pai considerably.
Given that I know almost nothing about any of these candidates, I'm inclined to throw my support behind Pai—who is listed as deputy general counsel at the FCC—on the grounds that we appear to have seven mutual friends on Facebook. Carosi Dunn seems to be a cipher to Google, beyond revealing that she worked on tech and homeland security issues for McCain and reads political blogs. Gross seems to have a bit more of a telecom-specific paper trail: He was the lawyer for AirTouch (since acquired by Vodaphone) in the late '90s, though his current gig at State seems to involve a focus on international rather than domestic telecom policy. Baker, for her part, has the dubious distinction of having been in charge of the notoriously fraught DTV converter box coupon program at the National Telecommunications and Information Administration. I'll be poking around to see what else we can learn about potential commissioners as we get closer to a pick.


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The 2019 Kawasaki MULE PRO-FXT™ Ranch Edition side x side combines serious strength and built-to-last durability with exclusive Ranch Edition features and electric power steering (EPS). Go and get the job done with an exclusive three- to six-passenger Trans Cab™ system for a revolutionary new way to work or play. To top it off, the MULE PRO-FXT Ranch Edition is backed confidently by the Kawasaki 3-Year Limited Warranty.Take it for a ride today
4-stroke, 3-cylinder, DOHC, liquid-cooled, gas
DFI® with 34mm throttle body
Continuously Variable Transmission (CVT) with (H,L,N,R)
10.2 in
92.3 in
Electric Power Steering (EPS) / rack-and-pinion, (Non EPS rack-and-pinion)
Double wishbone/8.7 in
Double wishbone/8.5/8.7 in
133.3 in / 135.6 in (Ranch Edition)
64.0 in
79.5 in (Ranch Edition, EPS LE) / 77.6 (EPS, Camo, Non EPS)
1962.5 lb (Ranch Edition) / 1922.8 (EPS LE) / 1911.7 (EPS) / 1916.1 (Camo) / 1887.5 (Non EPS)**
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2 cups water
1/4 cup oil
2 eggs
2 boxes quick bread mix
2 cups raisins
2 cups pecans
1 large fruit cake mix
Heat oven to 350 degrees
grease and flour bottom of pans
In large bowl combine water, oil, eggs beat well
Add all remaining ingredients stir by hand until combined.
Pour into greased & floured pans
Bake at 350 for 1 hour and 25 minutes.
This is my dad's favorite for the season Mom and I both make him a batch of it!


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Discover the World's Finest Premium Gourmet Coffees
By sampling and comparing premium gourmet coffees from each of the prime coffee-growing regions, you will gain a broader knowledge and appreciation of the gourmet coffees and also the unique and fascinating places where these coffees grow.
Determining which coffee bean variety and roast type makes the best gourmet coffee is clearly a matter of personal preference, though specific roast types complement particular coffees.
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Comments on this entry are closed.


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In 1996-1997 the artist duo Komar & Melamid hired professional polling companies to conduct a worldwide survey of musical tastes. Based on the averaged results, they partnered with musician Dave Soldier to create "The Most Wanted Song" (described as "Celine-Dion-esque") and "The Most Unwanted Song" (bagpipes, children's choir) in the world. This project, part of their series People's Choice (which included a net art commission for the Dia), was at once an earnest attempt to better understand mainstream aesthetic tastes and an ironic statement about the absurdity of trying to quantify those tastes via statistical averages.
Cover art for The People's Choice Music by Komar & Melamid and Dave Soldier.
In April 2015, a group of British biologists published a study in The Royal Society journal that similarly compresses musical trends into data, in this case applying much more technology and much less humor. In the survey "The Evolution of Popular Music: USA 1960-2010," Matthias Mauch, Robert M. MacCallum et al. analyze the chord and tone patterns of 30-second clips from over 17,000 songs appearing on the Billboard Hot 100 chart within that 50 year period, applying, according to them, a similar approach to paleontologists examining the fossil record. Besides giving insight to pop history, they hope to point "the way to a quantitative science of cultural change." Why, the researchers ask, can't musicology be more like evolutionary biology?
The study makes several claims about musical trends, such as that there have been three major music "revolutions" since 1960: a big spike in 1991 and two smaller peaks in 1964 and 1983. There were also lulls: 1986 was the least diverse musical year they identified, which they attributed to the introduction of drum machines and synthesizers. And in terms of major movements over that whole time span, they discovered, lo and behold, that "rise of RAP and related genres appears […] to be the single most important event that has shaped the musical structure of the American charts."


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Following the announcement of the Porsche 911 Black Edition, Porsche followed up with the Boxster S Black Edition, which will also get a limited run of 987 (Porsche's internal code for the Boxster) cars with the black treatment. Sticking to the black theme, all cars will be available in one color combination-black exterior, interior, and top, along with 19″ black painted wheels. Even the roll hoops and exhaust tips are painted black. The Black Edition Boxster sports black-faced gauges, and a special interior highlighted with aluminum and stainless steel accents.
While we griped that the 911 Black Edition was simply cosmetic, Porsche did add some muscle to the Boxster S Black Edition. The 3.4L boxer six-cylinder is rated at 320hp, a ten horsepower increase. Optioned with Porsche's PDK transmission and Sport Chrono package, this limited edition Boxster will reach 60mph in 4.6 seconds, with a top speed of 170 mph. The Boxster S Black Edition starts at $65,200USD, and with normally optional packages thrown in as standard, this represents a $3,200 savings over a similarly equipped Boxster S.


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Beautiful black woman... Grow some balls
African American women have to grow some balls. They seem to only speak exactly how they feel once everything is over. They allow themselves to be second or third to a man. They allow themselves to be just the fuck buddy or just the home girl, never demanding anything more. Step back ladies and ask yourself, what the fuck am I doing here. Look at the guy you dealing with and ask "what the fuck are we doing here?" A lot of women are scared to ask this question because they don't want to scare the guy off but fuck that. It is better he leave now because he scared then to drag it out any further. Once you are an adult you have to handle every situation like an adult including relationships.
I want women to stop thinking that God will bring them a good man just cause. I know women that are 50+ and have no one. How do you explain that theory to them? God plays favoritism? You simply can't play hard to get, have a list of preposterous requirements, listen to your single girl friends telling you "girl fuck men, we got each other", and then say God is going to bring you someone at the end of the day. I don't think it works like that.
Some African American women believe that a guy has to be perfect for them right off the back. He shouldn't need any molding, training, guidance, or anything and if he does then they ready to be on to the next. Well got damn, really? Let me ask you something, how long have these methods worked? Can't be 21+ still believing the same shit you believed at 15 or 16. Something has to change. The common denominator in every failed relationship you have been in is, you.
I think a lot of women want the love they see in the movies but that shit is fake and written by someone. I think a lot of women look at movies and believe it is suppose to happen exactly like that or it's not real. Sometimes it takes sacrifice and change and unless you are willing to change and make sacrifices then you are playing to lose. Stop allowing men to do whatever whenever. Make these cowards man the fuck up. If you don't then you can't cry when they don't.


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Modest Mouse has finally revealed the complete tracklist for Strangers to Ourselves:
- Strangers To Ourselves
- Lampshades On Fire
- Shit In Your Cut
- Pistol (A. Cunanan, Miami, FL. 1996)
- Ansel
- The Ground Walks, With Time In A Box
- Coyotes
- Pups To Dust
- Sugar Boats
- Wicked Campaign
- Be Brave
- God Is An Indian And You're An Asshole
- The Tortoise And The Tourist
- The Best Room
- Of Course We Know
The bad news is, for unexplained reasons, the release date has been pushed back two weeks to March 17. This new release date will coincide with the band performing on The Tonight Show Starring Jimmy Fallon.
The first thing to note here, unless it's been retitled, is that Poison The Well appears to be the only song performed live from the past few years that does not appear to be on the album. This track however has not been performed since late 2012 though.
Pistol also appears to have a new title that seems to reference American spree killer Andrew Cunanan. However it's been pointed out that he died in 1997, not 1996, so that may be a typo.
Another interesting one is the track God Is An Indian And You're An Asshole. This song was only performed once back in July of last year, no footage surfaced of it, and it caused great confusion at the time if it was a new song or an alternative Bukowski. It has not been performed again.
The fan titled track Give It Enough may still be on the album, but under its official title. Time will tell.
Lastly, the press release also details a lot of the people that worked on the album, revealing that James Mercer is once again returning to perform back up vocals. On which tracks it's not made clear. Dann Gallucci is also making a return appearance. As is Ben Massaralla (who performed some percussion on The Moon And Antarctica), which was previously touched on back in 2013. The production team is also revealed to be Isaac Brock, Andrew Weiss, Tucker Martine, Clay Jones, and Brian Deck.
The 15 new, original songs of Strangers To Ourselves were recorded at Ice Cream Party in Portland, Oregon a recording studio owned and operated by Isaac Brock. Originally leased in mid 2012 and purchased in late 2012, Ice Cream Party began as a makeshift studio, with mattresses against the walls to insulate sound, and was slowly transformed into a professional workspace where the band finished mixing the album in early 2015. Strangers To Ourselves was produced by Isaac Brock with additional production by Andrew Weiss, Tucker Martine, Clay Jones, and Brian Deck. The album features founding drummer Jeremiah Green, and a wide cast of musical collaborators, including James Mercer, who returns to sing back-up vocals throughout the album, Tom Peloso, Jim Fairchild (Grandaddy), Dann Gallucci (The Cold War Kids), Russell Higbee (formerly of Man Man), Ben Massaralla (Red Red Meat), Lisa Molinaro (Talkdemonic), Davey Brozowski (The Catheters), and more.
Listen to The Best Room below.


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SPOILER ALERT: This article contains key plot details from Thursday's musical episode of Grey's Anatomy.
The cast of Grey's Anatomy is wearing Seattle Grace scrubs and small, unseen earbuds. There's blood, there's medical jargon and everyone is ... singing Snow Patrol's "Chasing Cars"? While this may sound like a bad Saturday Night Live skit, it's not. Thursday's episode, in which we learn what happened to girlfriends Callie and Arizona after that ominous fade-to-white, is a full-scale musical event, in which cast members sing many of the songs the show has made famous.
"I have been wanting to do it since we made the pilot basically," creator Shonda Rhimes says. "We needed it to make sense for our show. Plus, I had to convince the network, which took me seven years."
Exclusive: Shonda Rhimes reveals Grey's Anatomy musical details
Having a Tony-winning singer-actress in the cast — Sara Ramirez, who won for Spamalot — certainly helped matters. At the close of the March 24 episode, Ramirez's character Callie, who is pregnant, was — spoiler alert! — moments away from flying through the windshield of Arizona's car after removing her seatbelt to retrieve the cell phone her girlfriend threw in the backseat.
Just before the accident, Arizona took a big leap and proposed to Callie. "I think that the proposal is something that is 100 percent heartfelt, but it's just something that she sees as an answer to not feeling legitimate in this new arrangement," says Jessica Capshaw, who will sing KT Tunstall's "Universe & U" with Ramirez. "So, before you can even figure out why it is that she asks Callie to marry her, they're in this horrible situation."
First look: Behind the scenes of the Grey's Anatomy musical episode
Harming a pregnant woman was not Rhimes' prerogative in trying to get ABC to green-light the musical episode. "That story was destined to happen whether or not there was singing in the episode," she says. "It just turned out to be the exact right way for singing to happen." How's that exactly? The musical portion of the episode is seen from a semi-comatose Callie's viewpoint, in which her colleagues both treat her and communicate with her in song. Ramirez points out that Calliope, Callie's full first name, is a mythological Greek figure who was the muse of song. "They make the connection from the get-go, so we understand why it's music that Callie's soul is speaking to her through and why she sees everybody singing."
Shonda Rhimes on the Grey's Anatomy finale: No gunmen, more growth
(For a better idea of how it will all work, check out this sneak peek of the first minute of the musical episode, which features "Cosy in the Rocket" by Psapp, the song used in the show's original title sequence.)
"When they first said it, all I could think of was song-and-dance, jazz hands and kicking your feet and acting silly," Justin Chambers says. "I mean, at this point in Season 7, we've ventured into every territory you could, so why not do this?" After weeks of vocal lessons from Rachael Lawrence — who has worked with members of the Glee cast — and hours in the recording studio, the cast was ready.
First Listen: The songs of the Grey's Anatomy musical episode
In the scene the Grey's cast is filming, it's all hands on deck because of Callie's extensive injuries. "In fact, it makes me laugh because it seems like there's no other patients in the hospital because everybody is working on Callie," Chambers says between takes.
"Callie's injuries are so catastrophic," Chyler Leigh adds, likening Callie's plight to that of George O'Malley (T.R. Knight) in the Season 5 finale when he was hit by a bus. "It's pretty comparable," she says. "I think the only thing that gives Callie more of an edge is the fact that there's a baby involved too."
What's next for the couples of Grey's Anatomy?
"I don't know how anybody survives that," says Ramirez, who will sing Brandi Carlile's "The Story," among other tunes. "But, I'll tell you something: It's a wake-up call of epic proportions for Callie. What lies in front of her [after the accident] is more than just glass. It's an opportunity to fight for her life and to make sense of why her life, and her life with Arizona, is worth fighting for, if that's the case."
While the action centers on Callie's treatment, "Owen is very much the man of the hour," says Kevin McKidd of his character. The Chief (James Pickens Jr.) has elected him to oversee Callie's case. "I am given the job to manage all the surgeons, who are all desperately trying to be first in line to get their procedure done and to try and save the baby and Callie," says the Scottish actor, who will sing Gomez's "How We Operate."
Meanwhile, it's the relatively green Dr. Lucy Fields (Rachael Taylor) who is tasked with keeping Callie's baby alive. Not all will go according to plan. "Lucy is obviously young to be in the position that she is," Taylor says. "She's probably come from a world of academia and doesn't have a lot of hands-on emergency room experience. That kind of deficit in her training is revealed in this episode."
Grey's Anatomy boss: Infertility will become an even bigger issue for Meredith and Derek
"Obviously, what's cool is I get to work with the lovely Kate Walsh as a result of that," Taylor says, as Walsh's character, Addison, who heads Grey's spin-off Private Practice, returns to help save the baby. "She's one of Lucy's heroes," Taylor continues. "She's the person that, when Lucy was training, she wanted to be like her. But obviously, Addison is frustrated that Lucy hasn't taken some of the necessary precautions."
Through the tragedy, Mark, who is the baby's father, and Arizona will find some common ground, following many episodes of discord between the pair as they navigate their unconventional parenting arrangement. "All he's wanted is a kid and now he's going to have one with his best friend," Eric Dane says. "In a matter of seconds, it all changes and very possibly gets taken away from him. So he's kind of freaked-out and a little shocked."
Lexie will be there to support him during this troubling time. "They have a moment where they can just be together and it's OK to cry," Leigh says. "You just know that you're with somebody that you love, somebody that you trust, and somebody that you can break down in front of."
Leigh will be one of the many cast members who will surprise you with her pipes when she sings a stunning version of Anna Nalick's "Breathe (2AM)," which fans will remember from the Emmy-nominated bomb-in-the-OR episode. "I'll never have this chance to be able to do something like this on this show again," Leigh says. "It was an opportunity for me to really be able to explore that side of me that I've always wanted to but just have been too afraid."
Exclusive: Chandra Wilson to direct Grey's Anatomy again
Arizona and Callie's dire straits help to establish a couples theme in the episode, as each romantic pairing at Seattle Grace figures out where they stand, which will be highlighted by an ensemble performance of "Running on Sunshine," by Jesus Jackson.
Because the episode is told from Callie's perspective, "some of us act out of character," Chandra Wilson says. For instance, McKidd reveals that the episode includes a fantasy sequence in which Cristina (Sandra Oh) and Owen "get a big make-out session, which seems kind of incongruous, but it's there for a reason."
The real challenge for the actors came in timing the music and dialogue, which happens simultaneously as some cast members sing, while others, including Ellen Pompeo, Oh and Patrick Dempsey work to save Callie. "It's a game really to make sure that you get all the words in by the end of the music so it all matches," Wilson says.
Executive producer Tony Phelan, who directed the episode, recalls thinking on the first day of filming, "'Oh my God, I made a horrible mistake; this isn't going to work.' Once we started shooting, then I knew it actually could work." He hopes the audience will go through the same experience. "You'll see them start to sing and then you'll just be in it and along for the ride."
Whatever the fan reaction may be, the cast has enjoyed the experience. Taylor says she cried when she read the script. "Watching this happen, I feel like Grey's is doing something really special and it'll be part of the zeitgeist."
The Grey's Anatomy musical airs Thursday at 9/8c on ABC. A full album of the episode's songs — which will also include the cast's renditions of The Fray's "How to Save a Life," Kate Havnevik's "Grace" and "Wait," by Get Set Go — will be available for download on iTunes Thursday morning.


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structure. Eleven months after completion of concreting work, the joints were washed out, tested with water, and the leaks calked with lead wool. About 42 sacks of cement were forced into the joints, which opened a maximum of 0.002 inch during grouting operations. Low grouting pressures were used because of the low sliding resistance of the shale foundation.
D. Gate Installations
58. High- Pressure Gates. - Six high-pressure gates were installed at Trenton Dam. Four gates, eet wide by 7 feet 6 inches high, were installed in the river outlet structure and two gates, 4 by 4 feet, were installed in the canal outlet conduit. All the gates were received from the contractor in good condition in advance of requirements. After installation, the gates and operating systems were pressure tested and trial oper
ating runs were made.
59. Radial Gates. - Three radial gates, 30 feet high and 42 feet wide, were installed in the Trenton Dam spillway. The gates were fabricated by Johnson Machine Works, Inc., Chariton, Iowa, under specifications No. 3321. The last gate was delivered to the site in July 1953, and erection of the gates was begun immediately and completed during October of the same year. During installation, the gate parts were handled by two cranes, one of 10-ton capacity and the other of 60-ton capacity. After the bridge over the spillway was completed, the lighter gate members were handled and placed from the bridge deck by the 10-ton crane. As limited by the bridge capacity, heavy gate members were placed by the 60-ton crane from the spillway floor. After installation of the gates, including the gate hoists, counterweights, floats, and control mechanisms had been completed, water was pumped into the gate float wells and the gate operation was tested.
(a) Patnting. -- Prior to painting, the radial gates were sandblasted then covered with a rust-inhibitive wash solution and a wetting agent. A coat of zinc-chromate priming paint was next applied. A second coat of priming paint was applied to the upstream side of the gate and, while the paint was still wet, a coat of sand was applied by using low air pressure. After the sand coating was dry, two coats of aluminum-finish paint were applied. The remainder of the gate, including the interior surfaces, was also covered with two coats of aluminum-finish paint, but without a second priming or sand coat.
60. Purpose. - In addition to making tests on the fill to control embankment construction, test apparatus is installed in most dams built by the Bureau to determine the behavior of the earth embankment and appurtenant structures during construction and later reservoir operation. The apparatus permits measurements of pore fluid pressures in the embankment and foundation, consolidation of the embankment, and vertical settlement and horizontal alinement changes on the surface of the dam.
61. Piezometer Installation. - A total of 25 piezometer tips were installed in the compacted impervious embankment, foundation gravel and sand, and in the shale bedrock. The installation included 12 foundation-type tips and 13 embankment-type tips. The tips were installed in shallow holes excavated in the compacted embankment (fig. 37).


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Difference between revisions of "Media art and culture"
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Media art includes projects exploring ''technological and aeshetical'' of emerging tools and standards, such as [[:Category:video art|video]], [[:Category:computer art|computer]], [[:Category:mobile art|mobile devices]], [[:Category:net art|internet]], [[:Category:software art|software]], [[:Category:code poetry|code]], [[:Category:game art|computer games]], [[:Category:streaming media|streaming]], [[:Category:locative media|GPS]], [[:Category:sound art|sound production devices]], or [[:Category:robotic art|robotics]]. These projects usually focus on the manuevre limitations, stereotypes of perception, or aesthetics of these tools.
Media art includes projects exploring ''technological and aeshetical'' of emerging tools and standards, such as [[:Category:video art|video]], [[:Category:computer art|computer]], [[:Category:mobile art|mobile devices]], [[:Category:net art|internet]], [[:Category:software art|software]], [[:Category:code poetry|code]], [[:Category:game art|computer games]], [[:Category:streaming media|streaming]], [[:Category:locative media|GPS]], [[:Category:sound art|sound production devices]], or [[:Category:robotic art|robotics]]. These projects usually focus on the manuevre limitations, stereotypes of perception, or aesthetics of these tools.
Looking at the media art and culture mailing lists, conferences and festivals, the current discussions are held on various topics, such as [[:Category:public domain|public domain and accessibility of data, software, and devices]], [[:Category:open spectrum|democratisation of electromagnetic spectrum]] (open spectrum), [[:Category:web 2.0|social web]] (or web 2.0), [[:Category:protection of personal data and identity|protection of personal data and identity]], and [[:Category:human rights|human rights]]
Looking at the media art and culture mailing lists, conferences and festivals, the current discussions are held on various topics, such as [[:Category:public domain|public domain and accessibility of data, software, and devices]], [[:Category:open spectrum|democratisation of electromagnetic spectrum]] (open spectrum), [[:Category:web 2.0|social web]] (or web 2.0), [[:Category:protection of personal data and identity|protection of personal data and identity]], and [[:Category:human rights|human rights]]with ''social, cultural, legal and political'' issues.
Revision as of 11:32, 3 December 2011
The term media art is useful and used for artistic projects bringing up the technological, aesthetical, social, cultural, legal and political issues that come along with the emergence of new media. Since 1990s the new media have included internet, web, mobiles, wireless, GPS, and others. Media culture in this regard uses and is used by new media.
Media art includes projects exploring technological and aeshetical of emerging tools and standards, such as video, computer, mobile devices, internet, software, code, computer games, streaming, GPS, sound production devices, or robotics. These projects usually focus on the manuevre limitations, stereotypes of perception, or aesthetics of these tools.
Looking at the media art and culture mailing lists, conferences and festivals, the current discussions are held on various topics, such as public domain and accessibility of data, software, and devices, democratisation of electromagnetic spectrum (open spectrum), social web (or web 2.0), protection of personal data and identity, and human rights, and deal with related social, cultural, legal and political issues.
- 1 Theories and definitions of media art
- 1.1 Wilson: Information Arts (2003)
- 1.2 Manovich: New Media (2001)
- 1.3 Penny (1993)
- 1.4 Medosch: Media Art (2005)
- 1.5 Fuller: Media Ecologies
- 1.6 Lovink: New Media (2005)
- 1.7 Gere: Art and Realtime Systems (2006)
- 1.8 Snow: Two Cultures (1959)
- 1.9 Lyotard: New materials (1979)
- 1.10 Grau: Media Art (2007)
- 1.11 Grau: Virtual Art (2003)
- 1.12 Frieling and Daniels: Media Art (2005)
- 1.13 Weibel: Digital Image (1984)
- 1.14 Ascott (2003)
- 1.15 Druckrey (2007)
- 1.16 Tribe and Jana: New Media Art (2006)
- 1.17 Paul: Digital Art (2003)
- 1.18 Murin: New Media (2000)
- 1.19 Rišková: New Media Art (2008)
- 1.20 Kera: New Media
- 1.21 Fabuš: New Media (2009)
- 1.22 regional and national histories
- 2 More writings
- 3 References
- 4 Resources
Theories and definitions of media art
Wilson: Information Arts (2003)
Stephen Wilson v Information Arts[1] klasifikuje prace na zaklade
pouzitych technologii (v knihe spred 6 rokov ich naratal vyse 80).
Wilson integrates art and techno-scientific research with critical theory into "art as research".
Also: Boundary_objects_between_arthistory,_history_of_technology,_and_sociology#Stephen_Wilson.2C_Information_Arts_.282003.29
Manovich: New Media (2001)
Lev Manovich v The Language of New Media[2] postupuje od materialnych
zakladov novych medii k ich formam.
In section Media and Computation I show that new media represents a convergence of two separate historical trajectories: computing and media technologies. Both begin in the 1830's with Babbage's Analytical Engine and Daguerre's daguerreotype. Eventually, in the middle of the twentieth century, a modern digital computer is developed to perform calculations on numerical data more efficiently; it takes over from numerous mechanical tabulators and calculators already widely employed by companies and governments since the turn of the century. In parallel, we witness the rise of modern media technologies which allow the storage of images, image sequences, sounds and text using different material forms: a photographic plate, a film stock, a gramophone record, etc. The synthesis of these two histories? The translation of all existing media into numerical data accessible for computers. The result is new media: graphics, moving images, sounds, shapes, spaces and text which become computable, i.e. simply another set of computer data. In Principles of New Media I look at the key consequences of this new status of media. Rather than focusing on familiar categories such as interactivity or hypermedia, I suggest a different list. This list reduces all principles of new media to five: numerical representation, modularity, automation, variability and cultural transcoding. In the section, What New Media is Not, I address other principles which are often attributed to new media [digitally encoded media is discrete in contrast to analog, different media types are displayable using one machine, random access, digitization inolves loss of information, endless copying w/o degradation of media, interactivity]. I show that these principles can already be found at work in older cultural forms and media technologies such as cinema, and therefore they are by themselves are not sufficient to distinguish new media from the old.
- Response
- Medosch: The history of media as told by Manovich appears to contain only unbroken continuity. For him, the Jacquard loom is a kind of predecessor of the computer because it could be 'programmed' to produce different ornaments using punctured strips. In typical technological deterministic thinking the logic of progress is at work, while human actors are sidelined. Lewis Mumford sees the Jacquard loom in a different light. According to Mumford aesthetic demands motivated the invention of the 'programmable' Jacquard loom - it were the complex patterns fashionable at the time which necessitated its invention (Trögemann and Viehoff 2005). Where Mumford sees human motivation, Manovich sees a 'logic' at work: from Daguerreotype and the Differential Engine (Babbage) to cinematograph, radar, television and computer, with the side-streams of the Hollerith machine, telegraphy, radio waves and wireless telegraphy. Yet Manovich never looses a word about where all those inventions come from. There is always a 'logic', a 'trajectory', some intrinsic reasons at work, why technology progresses in this or that way. Thus, technological progress becomes naturalised. Taking this to its final consequence, technological progress would be motivated by a teleology of which computer based (new) media appear as the provisional end point. [..]
Lev Manovich claims that the aesthetic principles at work in new media culture have been developed by Russian and German avant-garde film makers in the 1920s.
A hundred years after cinema's birth, cinematic ways of seeing the world, of structuring time, of narrating a story, of linking one experience to the next, have become the basic means by which computer users access and interact with all cultural data. (Manovich 2001, 78 -79)
In particular Dziga Vertov's film The Man with a Movie Camera (1929) can be used as the guide to the understanding of the language of new media. In order to give the aesthetics of cinema such a privileged role in its influence on new media, he has to neutralise the key counter-argument, namely that computers are interactive. According to Manovich it is a non-statement to say that computers are interactive - they are so by their very nature (Manovich 2001, 55). He says that he would offer only qualified notions of interactivity, and that in principle all art forms are interactive (ibid., 56). With this conceptualisation he basically kills interactivity as a category specific to media art. In order to cement his key thesis that computer based media can be seen through the lens of 1920s avant-garde movies he introduces an extensive genealogy of the screen.
VR, telepresence, and interactivity are made possible by the recent technology of the digital computer. However, they are made real by a much older technology, the screen. (Manovich 2001, 94).
Only by dismissing interactivity and by making the screen the central component of new media art, he can say that Russian avant-garde cinema has laid the foundations for media art. Thus, a seemingly progressive position is turned into a conservative one. Manovich appears to suggest that aesthetic innovation ended 80 years ago whereas we now move forward in making more perfect technically what Vertov et al have achieved then. The revolutionary methods (in the 1920s) of montage, of zooms and pans, of the liberated and accelerated kino-eye have become menu functions in Photoshop. American software engineers are providing the public with drop-down menu access to the aesthetic innovations of the 1920s. [1]
- Medosch about Batchen's critique. Geoffrey Batchen criticises Manovich for using cinema as the key conceptual lens through which to address the language of new media, ignoring the histories of photography and telegraphy (Batchen 2004). The use of 35mm discarded movie film by Zuse, the German inventor of the computer, is evidence enough for Manovich to see "all existing media translated into numerical data accessible for the computer."
But the plausibility of this particular historical metaphor depends on two particular claims: 1. that computing and photo-media have no interaction until the 1930s, and 2. that cinema is the key to any understanding of the forms and development of new media.
In his own account Batchen shows how closely the histories of the computer, photography and telegraphy were interwoven, partly because inventors such as William Fox Henry Talbot and Charles Babbage on one hand, and Samuel Morse and Louis Daguerre were in close contact with each other. According to Batchen four "inter-related technologies and their conceptual apparatuses - photography, mechanical weaving, computing and photo-mechanical printing" were first conceived around 1800 and need to be understood in the context of modernity, which means "capitalism, industrialisation, colonialism, patriarchy." It is important to note that Babbage and his assistant Ada Lovelace saw the computer as "a cultural artefact that enabled nature (and therefore God) to represent itself in the form of mathematical equations".
That means that Babbage's calculating machines were seen as proof of the existence of God. Batchen concludes that any single 'conceptual lens' is inadequate and therefore also any linear chronology. He demands "a more complex rendition of the relations of past and present," "a threedimensional network of connections," a history "thick" with unpredictability which faces up to the "political challenge" about the way how history is written.[2]
- Cubitt: is new media, are new media, unified by an intrinsic quality or field of qualities? Or is it perhaps their very modularity, variability, transcoding, that marks them out as a loose aggregation without a single defining presence? [3]
- Holmes: what always irritated me in Manovich's writing was a kind of smug insistence that the new media were essentially defined by a certain kind of rhythm, a certain multiplication of screens, a certain connection to databases, etc. - in other words, that new media were essentially defined by the dominant trends of contemporary capitalist society. For me this seemed like a total abdication of criticism itself, and it also seemed to be a sort of cheerful, "I'm on the winning side" version of the dark technological determinism and philosophical doomsaying promoted by the post-Leftist thinkers in the wake of Baudrillard. What I missed was the very question of autonomy, and some recognition of its quasi-infinite complexities as they've been ceaselessly developing from the Neolithic to now, in the long and discontinuous series of messages passed from human world to human world. Imho, the poverty of new media art - its "crisis" - has intrinsically to do with poverty of media critique tout court. [4]
Penny (1993)
Simon Penny v texte "Consumer Culture and the Technological Imperative: The Artist in Dataspace"[3] hovori o digitalnom, pocitacovom a elektronickom
umeni (pouziva ich ako synonyma) ako o spojnici troch historickych
prudov: techniky (engineering), transnacionalneho komoditneho
kapitalizmu, a tradicneho vytvarneho umenia. kedy digitalni
medialni umelci pracuju s estetikou technologii, ktore su
v kulture technologiami moci.
In many discussions of computer arts, the conversation has focused upon a dialectic between the sciences and the arts, a recapitulation of C. P. Snow's somewhat dated dualism. I want to insert a third term, without which such a discussion can have only limited relevance to contemporary culture: consumer commodity economics. [..] In this discussion, the terms "computer artists," "electronic media artists," and "artists who use technology" are used interchangeably, as I know of no useful and brief blanket term. There will be some specific reference to interactive media artpractice.
- Response
- Medosch k Pennyho trom prudom pridava este dva: kulturny priemysel (frankfurtska skola) a socio-politicke hnutia (aktivizmus). Pojem "media art" chape ako stresny pojem, analogicky k vyssie spominanym pojmom.
To this list of Simon Penny (above) I would add two fields: the culture industry (Adorno 1991), now re-branded as the creative industry, and socio-political movements. The field of media art cannot be understood without asking which connections media art has with other fields in society. As Penny's choice of words suggests those 'forces' do have a strong influence on the field and sometimes it looks as if the combined power of those influences is so overwhelming that a core of media art is hard to identify. My personal position in this regard is that it is important to acknowledge those contextual links, yet to insist that media art is not reducible to the contextual relations it has. The field has historically always struggled to define its boundaries. Those boundary struggles are very revealing about the differentiation process of the field in relation to the art system, the overall political economy, the computer and telecommunications industry, the creative industries and political activism. Any more extensive mapping of the field would have to consider those relationships instead of trying to define an 'essence' of media art.[5] [6]
Medosch: Media Art (2005)
Medosch talks about media art being justified by its institutional context[4].
It is not a diffuse 'essence' of media art which justifies it to speak of it as a separate field but the existence of a system of institutions which are more or less exclusively concerned with it. Institutionally media art is characterised by the existence of two types of institutions. On one hand there are large festivals, such as Ars Electronica, since 1979 held in Linz, Austria, and large brickand-mortar institutions such as the ZKM in Karlsruhe, which attract major funding, organise big exhibitions and produce heavy catalogues. On the other hand there are many small institutions, sometimes called 'self-institutions' - so called media labs or hack labs - which have been thriving over the last 10 years, forming an alternative or 'unstable' field (Druckrey 2005) with increasingly world-wide connections and a more decentralised and networked approach. Whereas the large institutions face typical pressures for legitimisation such as demands to be instrumental in regional development, the world-wide network of small institutions often lives on shoe-string budgets mostly provided by state funding agencies. Some activities are not funded at all or are rather selffunded - made possible by the energy and work of participants. According to Bourdieu this area could be called a field of restricted production. Economically it is insignificant but discursively it is important. I am not trying to construct a binary opposition between two types of institutions and acknowledge the existence of many medium sized institutions and a lively transfer between the fields. However, it is important to state that there is an institutionalised field and that it is not homogenous but heterogeneous. [7]
The thesis is, in short, that certain founding fathers have succeeded in establishing media art institutionally but it was a pyrrhic victory. the language and 'philosophy' they have employed was about a fetishized notion of disembodied information and an equally fetishized notion of interactivity. Thus, they have failed to build solid theoretic and terminological foundations. Because of the internet being openend up their discoursive relevancy was over by 1995-96. Although some good things came afterwards this sort of foundational mistake has blighted the field and subsequently lead to the confusion and misunderstandings we find ourselves in now. [8]
Fuller: Media Ecologies
Lovink: New Media (2005)
Gere: Art and Realtime Systems (2006)
Charlie Gere in Art, Time and Technology[6]: This book is concerned with the question of the role of art in the age of real-time systems. (By 'art' in this instance I generally refer to visual art, rather than literature, music or film for example.) The term 'real-time systems' refers to the information, telecommunication and (multi)media technologies that have come to play an increasingly important part in our lives, at least in the so-called 'developed' countries. [..] Real-time computing underpins the whole apparatus of communication and data processing by which our contemporary techno-culture operates. [..] 'Real time' can also stand for the more general trend toward instantaneity in contemporary culture, involving increasing demand for instant feedback and response, one result of which is that technologies themselves are beginning to evolve ever faster. [..] since the 1960s, artists have engaged seriously in the possibilities of realtime technologies for the making of art under various banners, including computer art, art and technology, new media art, and, most recently, net.art and internet art. [..] Another title for this book could be 'the work of art in the age of realtime systems'.
Snow: Two Cultures (1959)
Lecture by C.P.Snow[7]
Lyotard: New materials (1979)
Lyotard in book La Condition Postmoderne (1979), in which he prophesised the end of the grand narratives, the end of man's control over being (Descartes), the end of the humanist tradition. In Les Immatériaux exhibition he curated he made the visitor realise that the existence of new materials (new technologies, computerized spaces, internet) would alter man's relationship with the world even more extremely. These 'new materials' would force him to recognize that the old Cartesian programme of mastering and posses¬sing nature was history. These 'new materials' were not, as Lyotard explained, materials that are new, but materials that 'work' or 'talk' themselves and thus question the idea of Man being the only one who works, talks, plans and remembers. Goods, images and signs themselves generate new processes, resulting in ever new goods, images, signs and meanings. The sphere of influence of these processes extend far beyond the conscious intentions and interpretations of those who make and absorb it. This is the most fascinating proof of the ability of 'a work' to work and to affect its own operations. It has a 'life' of its own.
Grau: Media Art (2007)
Oliver Grau in MediaArtHistories - ? [8]
- Response
Grau: Virtual Art (2003)
Oliver Grau in Virtual Art[9]: Media art, that is, video, computer graphics and animation, Net-art, interactive art in its most advanced form of virtual art with its subgenres of telepresence art and genetic art, is beginning to dominate theories of the image and art. [..] Media artists represent a new type of artist, who not only sounds out the aesthetic potential of advanced methods of creating images and formulates new options of perception and artistic positions in this media revolution, but also specifically researches innovative forms of interaction and interface design, thus contributing to the development of the medium in key areas, both as artists and as scientists. [..] However, a central argument of this book is that the idea of installing an observer in a hermetically closed-off image space of illusion did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images. It is grounded in art traditions, which have received scant attention up to now, that, in the course of history, suffered ruptures and discontinuities, were subject to the specific media of their epoch, and used to transport content of a highly disparate nature. Yet the idea goes back at least as far as the classical world, and it now reappears in the immersion strategies of present-day virtual art. Further, it is the intention of this book to trace the aesthetic conception of virtual image spaces, their historical genesis, including breaks, through various stages of Western art history. It begins with the broad, primarily European tradition of image spaces of illusion, which was found mainly in private country villas and town houses, like the cult frescoes of the Villa dei Misteri in Pompeii, the garden frescoes in the Villa Livia near Primaporta (ca. 20 b.c.), the Gothic fresco room, the Chambre du Cerf, and the many examples of Renaissance illusion spaces, such as the Sala delle Prospettive. [..] [After demise of the panorama,] technology was applied in the attempt to integrate the image and the observer: stereoscope, Cine´orama, stereoptic television, Sensorama, Expanded Cinema, 3-D, Omnimax, and IMAX cinema, as well as the head-mounted display with its military origins. [..] attention [of this book] centers on 360-degree images, such as the fresco rooms, the panorama, circular cinema, and computer art in the CAVE: media that are the means whereby the eye is addressed with a totality of images. This book engages with media in the history of art that concentrate on immersive image spaces. [..] The image spaces and media discussed here are the subject of many treatises, but never before have they been examined in the context of an art-historical analysis of the concept of immersion. So far, there has been no historically comparative or systematic theoretical approach to virtual realities.
Frieling and Daniels: Media Art (2005)
Rudolf Frieling and Dieter Daniels: media art is "by definition multimedia, time-based or process-oriented"[10]
We pointed out the special qualities of media art reception in the introduction to Media Art Net 1. This applies both to direct knowledge of the artworks and also their technological and theoretical context; we would like to sum this up succinctly in the following three theses:
- 1. Media art must be conveyed multimedially so that its time-based, processual and interactive aspects can be understood.
- 2. Media art needs a special theory that combines competencies from art theory, media science and media technology.
- 3. Multimedia presentation and special theory are mutually dependent; they have to relate to each other and be published on a joint platform.
To these we can now add a fourth thesis as the sum of our past experiences:
- 4. Contexts can be created and presented only through the Net: the idea of networking the competencies of curators, academics, mediators and institutions met with a great deal of willingness to cooperate. So finally, thanks to these many collaborators, it was possible to finance a large number of additional themes, projects and materials. Here the bandwidth of the approaches, which were often very heterogenous in terms of method, first reflects existing divergencies of theory and practice. But at the same time the joint, collectively filled data pool, starting from the work, makes it possible to respond to these works and to make them productive in this way. Cross-links between the text were built in editorially. This led to an intensification process that we often found remarkable; it crystallized out from multiple references to a whole series of older, but also more recent artistic positions.
Weibel: Digital Image (1984)
Peter Weibel[11] claims "Futurism, Cubism, Cubofuturism, Suprematism, Dadaism, Surrealism, etc." to be conceptual precursors of media art. New art forms emerging after WW2 such as "action painting, Fluxus, Happening, Pop Art, Kinetism, Op-Art, Ambiente, Arte Povera, actions, performances, etc.," are enlisted to the cause of preparing the ground for the 'liberated' digital image.
Ascott (2003)
Roy Ascott in Telematic Embrace - ? [12]
Druckrey (2007)
Timothy Druckrey at Media Art Undone conference presentation [13]:
The more specific question for us in terms of the media arts have to do with the evolution - let's say since the 60s - from phases. I'm not making this categorical phases, but a kind of a test case, which is a kind of shift from this first phase, which I call the phase of ambiguity, which was the sort of phase of the 60s and maybe into the middle 80s, when electronic arts, computer arts seemed ambiguous and certain had no real focus and were just kind of playful. And yet underneath it we know there were some serious thinking being done, and you can start to undertsand by a series of exhibitions that there's kind of a re-thinking of this period of the 60s, the exhibition at the ZKM now called Buffalo MindFrames which talks about the experimental terlevision experiments from the 60s, of Paul Sharits and Stan Brakhage and Weibel and Vasulka and the James Blue and others. That this material finally started to be on earth for us again and we have to sort of confront the transition that happend in the 60s to 80s from film to video, video to computer and then this kind of second period, if I can say it, which is a kind of period which I call the proliferation period, let's say it's from the late 80s to the 90s in which there was kind of an explotion, everybody was doing it, everybody was faster by it, we finally and very sadly inherited this really hard name for it - new media, a phrase that I hate more than anything else in the world.
New for me means something that is instanteneous forgetting, the new is about erasure for me, the new is about a relentless present, the new is about no reflection, it's about singularity, it's a slogan of the advertising campaign and the fact that we use it has been damageable for fifteen years. I hope you understand that.
In this phase, this proliferation of festivals happen, the locations of subcategories, some of them that Olia talks about, these subcategories which have also for me undermined the basic idea that we have a kind of a large-scale set of intentions that are connected to eachother. Once you create these subcategories - what did she say - blog art, net art, software art - for me it really undermines our project in a very specific way and makes us even more marginal, more elite, more differentiated, more unwilling to sort of see that our project is actually a comprehensive project.
And now let's say there is this third project, a third phase, which is this phase of ubiquity. It's a period where we now have to start to understand that once the status of the medium reaches into every atmosphere of culture, then our job is even harder than it's ever been. And therefore it's more urgent for us to sort of come to terms of understanding that we are neither autonomous nor assimilated without pardon and we're not just another spin of the wheel that there's a sense in which the stagings of the media that we work within -and I've really considered very deeply - are slightly different than the fact that everybody has access, everybody has gadgets, everybody has hardware, everybody has cellphones with cameras and the new iPhone, everybody's integrated, because I kind of feel like preferring the unintegrated and I will fight always not to be integrated into that system. It's a niche that I don't really want to live in. So, if we look back into these phases, this kind of history of the 21st century and think about the way that the media - by the way a term that is profoundly complex, but I can't find an alternative - but if we look back into this, we understand that the theories of the media evolved from the culture theory of the 1930s to the consciousness media of the 1950s, and now integrated in a way into the, what's been called, the creative industries and this for me is the final incorporation of what happens to media.
Tribe and Jana: New Media Art (2006)
Mark Tribe and Reena Jana in New Media Art[14]: New Media art and older categorical names like "Digital art," "Computer art," "Multimedia art," and "Interactive art" are often used interchangeably, but for the purposes of this book we use the term New Media art to describe projects that make use of emerging media technologies and are concerned with the cultural, political, and aesthetic possibilities of these tools. We locate New Media art as a subset of two broader categories: Art and Technology and Media art. Art and Technology refers to practices, such as Electronic art, Robotic art, and Genomic art, that involve technologies which are new but not necessarily media-related. Media art includes Video art, Transmission art, and Experimental Film -- art forms that incorporate media technologies which by the 1990s were no longer new. New Media art is thus the intersection of these two domains. We chose to limit the scope of this book to work that was made after the term New Media art was broadly adopted in 1994, and to focus on works that are particularly influential, that exemplify an important domain of New Media art practice, and that display an exceptional degree of conceptual sophistication, technological innovation, or social relevance. Deciding what counts as media technology is a difficult task. The Internet, which is central to many New Media art projects, is itself composed of a heterogeneous and constantly changing assortment of computer hardware and software?servers, routers, personal computers, database applications, scripts, and files?all governed by arcane protocols, such as HTTP, TCP/IP, and DNS. Other technologies that play a significant role in New Media art include video and computer games, surveillance cameras, wireless phones, hand-held computers, and Global Positioning System (GPS) devices. But New Media art is not defined by the technologies discussed here; on the contrary, by deploying these technologies for critical or experimental purposes, New Media artists redefine them as art media. In the hands of Radical Software Group (RSG), for example, data surveillance software, similar to that used by the United States' Federal Bureau of Investigation (FBI), becomes a tool for artistic data visualization. In addition to exploring the creative possibilities of this software, RSG develops a critique of surveillance technology and its uses. According to the authors, contemporary new media art pieces tend to deal with themes such as collaboration, identity, appropriation and open sourcing, telepresence and surveillance, corporate parody, as well as intervention and hactivism.
Paul: Digital Art (2003)
Christiane Paul v Digital Art[15] rozlisuje medzi umenim, ktore pouziva digitalne technologie ako nastroje pre tvorbu tradicnych umeleckych objektov (fotografia, tlac, socha, hudba) a umenim, pre ktore su tieto technologie jeho vlastnym mediom, v ktorom je produkovane, zaznamenavane a prezentovane a ktoreho interaktivne a participativne vlastnosti taketo umenie vyuziva.
- Response
- Medosch: I would tentatively add to Christiane Paul's definition that many works of media art contain an element of self-referentiality; that they are not just 'using' a medium but also questioning and challenging its boundaries; that they try to make implicit or explicit statements about properties of media technologies and thereby raise questions about the intersections of science, technology and culture. Such a definition points to a qualitative difference in the understanding of media art. The medium in this definition of media art is not just a carrier of content but formative for the creation of meaning. Technology and culture are not seen as categorically separated but understood to be intricately linked. However, such a definition of media art can not be assumed to be universally shared. [12]
Murin: New Media (2000)
Rišková: New Media Art (2008)
Mária Rišková in [17]: "Uznanie umenia nových médií ako relevantnej súčasti inštitucionalizovaných dejín vizuálneho umenia sa naplnilo, keď sa rozšíril termín media art (umenie médií, mediálne umenie), ktorý jasnejšie vytýčil pravidlá hry a uspokojil zástupcov konvenčných dejín umenia:
- prepojil súčasné nové médiá s historickým vývojom = nové médiá sú pokračovateľom experimentov niektorých avantgárd (ktoré už dosiahli akceptáciu v akademických kruhoch)
- akceptoval zaradenie autorov nepochádzajúcich z akademickej umeleckej scény do oblasti umenia
- odstránil sporné adjektívum "nový" a zhrnul pod "médiá" už prediskutované pojmy multimediálneho a intermediálneho umenia = spolupôsobenie zvuku – obrazu – pohybu – času – procesu – priestoru...
- prijal fenomény, ktorú už nemohol nikto v súčasnej kultúre prehliadať = interaktivita, úloha publika atď."
Kera: New Media
Fabuš: New Media (2009)
regional and national histories
- Books
- Eastern and Central Europe. Stephen Kovats (ed.), Media Revolution. Electronic Media in the Transformation Process of Eastern and Central Europe. (German title: Ost-West Internet.) Edition Bauhaus 6, Campus Verlag, Frankfurt/M. and New York, 1999. 381 pp., illus. (All texts Engl. and German.) ISBN: 3-593-36365-8. With CD-Rom: Ostranenie 93 - 95 - 97. Bauhaus Dessau Foundation, Dessau, 1999. Mac & PC. ISBN: 3-910022-30-8, [13]. Review by Andreas Broeckmann
- Slovakia. Katarína Rusnáková, História a teória mediálneho umenia na Slovensku, Bratislava: AFAD Press, 2006, (Slovak), with DVD
- Czech Republic. Lanterna magika: nouvelles technologies dans l'art tchèque du XXe siècle = New technologies in Czech art of the 20th century, Praha: KANT, 2002. — 261 p. — ISBN 8086217361, (French/Czech). Includes timeline on media arts in the Czech Republic since 1920.
- flemish Belgium. Liesbeth Huybrechts (ed.), CROSS-over, een overzicht rond kunst, media en technologie in Vlaanderen, BAM and Lannoo, 2008, [14]
- United Kingdom. Lucy Kimbell (ed.), New Media Art: Practice and Context in the UK, 1994-2004, London and Manchester: Art's Council and Cornerhouse, 2004, [15] ISBN: 0-94879-788-6
- Bulgaria. Dimitrina Sevova (ed.), Communication Front Book, Crossing Points East-West, 2002, (Bulgarian/English), [16]
- Germany. Rudolf Frieling and Dieter Daniels (eds.), Media Art Action – The 1960s and 1970s in Germany, commissioned by Goethe-Institut and ZKM Center for Art and Media, Vienna/New York: Springer, 1997, (German/English), plus CD-ROM, ISBN:3-211-82996-2
- Germany. Rudolf Frieling and Dieter Daniels (eds.), Media Art Interaction – The 1980s and 1990s in Germany, commissioned by Goethe-Institut and ZKM Center for Art and Media, Vienna/New York: Springer, 2000, (German/English), plus CD-ROM, ISBN: 3-211-83422-2
- Articles
- Central and Eastern Europe. Rossitza Daskalova, "The ground for net.art in the former Eastern Block (Central and Eastern Europe)", 2001, [17]
- Croatia. Klaudio Štefanović, "New Media Art in Croatia", 2007, [18]
- Croatia.Darko Fritz, "Media Arts in Croatia", [19]
- Response. Ana Peraica, "HR - A remark on art & technology research in regard to the place of origin taken as the state, place of living, as well as only a domain", [20]
- Slovenia. Marko Brumen, "Intermedia arts in Slovenia", chapters: Timeline; Support infrastructure and funding; artists; producers; festivals; training and research; sources and bibliography, [21]
- Belgium. Dominique Moulon, "Digital Art in Belgium", 2008, [22]
- United Kingdom. Pauline van Mourik Broekman, "Waste Net, Want Not: Art and new media in 90s Britain", [23]
- United Kingdom. Steve Dietz, "British New Media Art", April 2004, [24]
- former Soviet Union. "Prometheus: Art, Science and Technology in the Former Soviet Union: Special Issue", Leonardo, Vol. 27, No. 5 (1994), [25]
- Russia. "Media Art in Russia", ISEA Newsletter #95, January-February 2004, [26], [27]
- Hungary. Nina Czegledy, "Media Art: The Hungarian Model", in: CIAC's Electronic Art Magazine 12 (2001) [28]
- Romania. George Sabau, "Contextual history of Kinema Ikon", 2005, [29]
- Norway. "New media art in Norway - Overview", [30]
- Ukraine. Katya Stukalova, Ukrajinské mediální umění - V očekávání, in: Umělec, 2005, (Czech), [31]
- Lithuania. Renata Sukaityte, "New Media Art in Lithuania", 2007, [32]
- Albania. Geert Lovink, "Media Art in Albania, First Steps. An Interview with Eduard Muka (Tirana)", 1996, [33]
More writings
- Má pojem nová média dnes ještě co říci? 2007 [34]
- ↑ Stephen Wilson, Information Arts: intersections of art, science, and technology, MIT Press, 2003, (online), (full book), (google books)
- ↑ Lev Manovich, The Language of New Media, Cambridge: MIT Press, 2001, (online), (full book), (google books), (excerpt)
- ↑ Simon Penny, "Consumer Culture and the Technological Imperative: The Artist in Dataspace", 1993 (full article), in: Simon Penny (ed.), Critical issues in electronic media, SUNY Press, 1995, (google books)
- ↑ Armin Medosch, "Technological Determinism in Media Art", 2005, (full text), (excerpt)
- ↑ Geert Lovink "New Media, Art and Science: Explorations beyond the Official Discourse", 2005, (full text)
- ↑ Charlie Gere, Art, Time and Technology, Berg, 2006, (full book)
- ↑ C.P.Snow, "The Two Cultures", 1959, (full text) wikipedia
- ↑ Oliver Grau (ed.), MediaArtHistories, Cambridge: The MIT Press, 2007
- ↑ Oliver Grau, Virtual Art: From Illusion to Immersion, Cambridge: The MIT Press, 2003, (full book)
- ↑ Rudolf Frieling, Dieter Daniels (eds.), Media art net 2: Thematische Schwerpunkte/Key Topics, Springer, 2005, (online), (google books)
- ↑ Peter Weibel, "On the History and Aesthetics of the Digital Image", 1984, (full text), (excerpt)
- ↑ Roy Ascott, Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, Berkeley: University of California Press, 2003, [http://burundi.sk/monoskop/log/?p=64 (full book)
- ↑ Timothy Druckrey, Media Art Undone conference presentation, 2007, (full text) (discussion)
- ↑ Mark Tribe and Reena Jena, New Media Art, Taschen/Brown, 2006, (full text)
- ↑ Christiane Paul, Digital Art (World of Art series), London: Thames and Hudson, 2003, (online), (commentary)
- ↑ Michal Murin, "Nové médiá", in: Profil 4 (2000) pp. 4-5 (Slovak), (full text) (Slovak)
- ↑ Mária Rišková, "Agónia a extáza umenia nových médií", in: Flash Art Fall (2008) (Slovak)
- ↑ Denisa Kera, "Nová média", (full text) (Czech)
- ↑ Palo Fabuš, "The World Engufled by Technology: A Critique of New Media", in: Umělec 1 (2009), (full text) (English/Czech/German/Spanish)
- http://userwww.sfsu.edu/~infoarts/links/wilson.artlinks2.html
- http://www.netzwissenschaft.de/mob.htm
- http://www.mediaartnet.org/


text:
Reds coach Berry says he's cancer-free
CINCINNATI -- Reds third-base coach Mark Berry received the best news he could have received on Thursday.
Berry is cancer-free.
"I was very pleased. Great news," Berry said after the Reds took a 6-2 victory over the Cardinals. "I won't forget this day. And a nice win to top it off."
Berry was diagnosed with cancer in his tonsils and lymph nodes during Spring Training in March and took a leave from the club to undergo chemotherapy and radiation treatment. He returned to part-time work and traveling in June before resuming coaching at third base in mid-July.
On Wednesday, Berry underwent the PET scan exam to see if the treatments were successful.
"I went through a 16-inning game [Wednesday] night, knowing the test was over but not knowing the results," Berry said. "At third base, I was focused and locked in, but when I got into the dugout, I was thinking about it. Of course, anybody would. But I wasn't overly nervous. I felt good about it.
"The first thing they said was the scans came out really clean, really nice."


text:
Results 1 to 10 of 54
Your Daft Punk Wallpapers Wanted8th Nov 2011, 14:24 #1
We are developing a new section hosting free to download Daft Punk wallpapers. I know there's a lot of talented artists out there so if you've made your own desktop wallpaper I want to hear from you!
Please make sure you only submit your own work (photo manipulation allowed but no plagiarism).
If you have a wallpaper you'd like to submit please post up a sample, or link to the file. If your file gets chosen for inclusion I'll need the largest resolution version you've got (looking for around 1680x1050).
I'll be making various resolution versions of your image to accomodate lots of screen sizes, and may add a faint Daft Club watermark too. You will be credited with your username and a link to your profile on the download page.
Re: Your Daft Punk Wallpapers Wanted8th Nov 2011, 16:53 #2
These are based on DJ Hero artwork, is that ok?
Re: Your Daft Punk Wallpapers Wanted11th Nov 2011, 11:48 #3
Perfect! Thank you Ridley
Anyone else got any that they don't mind me using?
Re: Your Daft Punk Wallpapers Wanted11th Nov 2011, 11:58 #4Thomas Bangalter on EDM - "Maybe it's just one guy called Eric David Morris."
Re: Your Daft Punk Wallpapers Wanted12th Nov 2011, 15:56 #5
This is something very simple I made a few years ago, but I think it's nice
http://img102.herosh.com/2011/11/12/255120091.jpgCan't you see d/square world ?
Re: Your Daft Punk Wallpapers Wanted12th Nov 2011, 16:49 #6
Re: Your Daft Punk Wallpapers Wanted18th Nov 2011, 12:23 #7
Here's a wallpaper i did last night
Re: Your Daft Punk Wallpapers Wanted1st Dec 2011, 15:39 #8
Here's a new one i did today, also have this in ultra hi-res if anyone is interested
Re: Your Daft Punk Wallpapers Wanted10th Dec 2011, 20:23 #9
This is one of my creations. Please PM me if you want to use it
Re: Your Daft Punk Wallpapers Wanted12th Dec 2011, 06:57 #10
I made this for a school project this week. I can take the letters off and just have daft punk. Lemme know whad ya think!
Ill send the ones without letters soon!
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Daft Punk WallpapersBy staceylala in forum General Daft PunkReplies: 22Last Post: 13th Sep 2013, 07:41
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text:
Cell size is 5.1mm (5 5/8 inch wired foundation).
Why a 5.1? Many recommend a transition from the standard 5.4 to the 4.9 cell foundation allowing the bees to adjust more readily and help avoid the erratic comb drawing that can occur with a direct downsizing from the 5.4 to the 4.9 thus a middle step with the 5.1
Suggested for use by experienced beekeepers only. Varroa Mite have a hard time reproducing on worker brood raised in small cell comb. Those beekeepers who on their own have tried this technique report good results, with varroa screens and drone foundation. Switching a colony of honey bees to small cell comb can be hard if not done at the correct time of the year. Honey bees first start major brood rearing in the Spring or right after swarming. The beekeeper should introduce 10 frames of small cell foundation per brood chamber. So, if you are an experienced beekeeper who likes to experiment and want to move ahead of the chemical control crowd with your honey bee management, this may be for you. Size 5 5/8 x 16 3/4 inches, LH wired for added stability.
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